97 10 1402 https://openvalley.org/files/original/6280689a05b6a01ca00e92c02dd01b6a.jpg f4b66daf5ae4db62f4deb160e6e4db43 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Silkscreen poster, via color film copy slide Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poster for exhibition at Federal Art Project Gallery, New York Format The file format, physical medium, or dimensions of the resource jpeg, 406 KB Creator An entity primarily responsible for making the resource Floethe, Richard, 1901-1988 Publisher An entity responsible for making the resource available Federal Art Project Description An account of the resource This poster was created by the Richard Floethe, Director of the Federal Art Project's NYC Poster Division. His training at the modernist Bauhaus in Germany shows its influence in stylized illustration and bold, simple lettering. The Federal Art Project Gallery, which opened on 27 December 1935, was a frequent venue for painters in the program. Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress, Prints & Photographs Division, WPA Poster Collection, <a href="https://lccn.loc.gov/98513588" target="_blank" rel="noopener">LC-USZC2-959</a> Type The nature or genre of the resource Still image Federal Art Project Federal Art Project Gallery Poster Poster Division https://openvalley.org/files/original/b9e255d17b6ca58a06bc8528ca46b7c2.jpg 6ffe01f91062798382ed88f061f01d1d https://openvalley.org/files/original/4672951964142b2e7684c4afe2ae8c39.JPG 176d07ecb9a3928a6010c8edcecba9bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 19.5 x 23.5 in. Condition: chipped, cracked, stained paint Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pot Marigold Description An account of the resource Striking design maintains accurate details of common marigolds in a glass vase or jar, while experimenting with simplified blocks of color. The nearly monochromatic background is variegated using brushstrokes and different thicknesses of paint. Nash’s decision to use a clear vase adds complexity and may be the still life’s most distinctive feature. About the Artist: Born in Sparta, WI, Genevra Ingersoll (her name a source of many spelling variants) came from a family of freethinkers, including her uncle <a href="https://en.wikipedia.org/wiki/Robert_G._Ingersoll" target="_blank" rel="noopener">Robert G. Ingersoll</a>—known as “The Great Agnostic” and one of America’s most popular orators of the day who counted as a friend the poet Walt Whitman. Ingersoll was educated by tutors and showed a talent for painting; however, her first career was on the stage, beginning in the Midwest, then on Broadway in shows like Arizona (1900) and Unleavened Bread (1901). She married the actor George F. Nash in 1888 and began dividing her time between America and England in 1902, about the time her interests drifted away from the commercial theater. Nash   collaborated with the novelist and early filmmaker <a href="https://en.wikipedia.org/wiki/Sir_Gilbert_Parker,_1st_Baronet" target="_blank" rel="noopener">Sir Gilbert Parker</a>; performed readings in London from the poetry of <a href="https://en.wikipedia.org/wiki/Oliver_Herford" target="_blank" rel="noopener">Oliver Herford</a>, “the American Oscar Wilde”; and wrote <a href="https://babel.hathitrust.org/cgi/pt?id=hvd.hn2mei;view=1up;seq=31" target="_blank" rel="noopener">an introduction to fairy tales</a> for the Consolidated Encylopedic Library. Her drawing-room readings made use of magic lantern slides she had painted herself. At this point, according to a later profile, Nash was encouraged to develop her talent for painting; she studied in Paris with <a href="https://en.wikipedia.org/wiki/Max_Bohm" target="_blank" rel="noopener">Max Bohm</a> and <a href="https://en.wikipedia.org/wiki/Lucien_Simon" target="_blank" rel="noopener">Lucien Simon</a> and then had a studio in Rome for eight years (Rohe). During the Great War she remained in Europe, painting among other works the striking <a href="http://www.askart.com/Photos/2018/ELD20180406_111225/1044_1.jpg" target="_blank" rel="noopener">“View of St. Paul’s Cathedral, London”</a> under attack from a 1915 Zeppelin bombing. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-7" target="_blank" rel="noopener">FAP</a>. Sources Consulted: “Women’s Clubs,” Brooklyn Life 8 Jul. 1905: 16; Alice Rohe, “Genevra Ingersoll,” Latrobe Bulletin 20 Mar. 1935: 3. Orison Swett Marden, ed., The Consolidated Encyclopedic Library, Vol. 5 (Emerson Press, 1903): 1213-1215. Creator An entity primarily responsible for making the resource Nash, Genevra (Ingersoll), 1860-1941 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18222 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 13.8 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 129 Federal Art Project Genevra Ingersoll Nash New Deal Gallery painting still life https://openvalley.org/files/original/ea7562cc8b5f0859f1946ba1ab2a4efa.jpg 3c8934016b3addd95bc88265ed5ac2e4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital camera file? Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Potato harvest, Marquart Farm Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Geneseo Migrant Center Description An account of the resource During the time of the Geneseo Migrant Center, this farm located near Gainesville, NY was one of Wyoming County's group of major potato producers. The scale of that operation is suggested by this photograph showing rows of filled bags, at the time picked by hand using migrant farmworkers. oday Marquart Farms has, to some extent, differentiated itself from commodity producers by creating its own line of <a href="https://thenewyorkchip.com/" target="_blank" rel="noopener">"New York Chips"</a> that are sold in retail outlets. It also has a large storage operation that brings in another stream of income. Date A point or period of time associated with an event in the lifecycle of the resource 1990s? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 552 KB Type The nature or genre of the resource Still image Geneseo Migrant Center Marquart Farms Migrant Farmers Photo Potato Farm Wyoming County https://openvalley.org/files/original/248c35e381c5b25874c138a465b067c0.jpg 6c5336dd6e03b9dd1b0e9da7e175bac9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 7 x 5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Potato Harvesting Machine, Gibson Farm Description An account of the resource This photo depicts unnamed migrant farmworkers sorting debris out of the crop on an FMC Potato Harvester; a conveyor belt then loads them onto a truck. The man wearing glasses and a hat at upper right is the farm owner, Roy Gibson. Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Tucker, Nevaeh Source A related resource from which the described resource is derived Steuben County Historical Society Format The file format, physical medium, or dimensions of the resource jpeg, 587 KB Type The nature or genre of the resource Still Image Creator An entity primarily responsible for making the resource Unknown Geneseo Migrant Center Gibson Farm Migrant Farmworkers Potato Farm https://openvalley.org/files/original/e3b346102f257872cd9222eb53be0749.jpg 331e8146aaa8e051407823adb582cdf5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Graphical chart Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Potato Production and Farm Disposition, 1909-1950 Creator An entity primarily responsible for making the resource Bureau of Agricultural Economics Publisher An entity responsible for making the resource available US Department of Agriculture Date A point or period of time associated with an event in the lifecycle of the resource 1953-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Potatoes: Acreage, Production, Value, Farm Dispostion, Jan. 1 Stocks (1866-1950). Statistical Bulletin #122. US Department of Agriculture, Bureau of Agricultural Economics (March 1953): 3. <a href="https://books.google.com/books?id=FnsWAAAAYAAJ&newbks=1&newbks_redir=0&printsec=frontcover&pg=PA1901&dq=potatoes:+acreage,+production+1866-1950&hl=en#v=onepage&q=potatoes%3A%20acreage%2C%20production%201866-1950&f=false" target="_blank" rel="noopener">Courtesy of Google Books</a> Format The file format, physical medium, or dimensions of the resource jpge, 365 KB Description An account of the resource Table from an in-depth survey of agricultural records reveals transformations in the economics of farming. While overall potato production rose during the first half of the 20th century, the "disposition" of that production changed: a smaller percentage was used for seed or consumed in farm households. This is attributed to fewer, larger farms growing potatoes as a commodity. Type The nature or genre of the resource Still image Agriculture farming Potatoes https://openvalley.org/files/original/ea907e9253f599205ebc37bd5c5ed300.jpg 0b43c0bd5b62d06fa204088b0a9380dc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 7.5 x 9.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Potatoes on a Wyoming County Farm Description An account of the resource Close-up photograph of the largest crop harvested by migrant farmworkers in Wyoming County, primarily due to the careful hand work needed to prevent damage. A week before potatoes were harvested, an herbicide was sprayed on the foliage. Original inscription reads: "B&W glossy photo of a pile of Potatoes in the dirt in a field." Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Wyoming County Historian Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still image Date A point or period of time associated with an event in the lifecycle of the resource Unknown farming Geneseo Migrant Center photograph Potatoes https://openvalley.org/files/original/3c39fe83b4f21c39921fed54134e3fde.jpg df5be25aa2f968ffcd0a4678aa2cbd44 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Microfilm negative of record book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Potter's Field (Hart Island) Burial Record Description An account of the resource After a variety of uses, this small island in Long Island Sound first was used as a mass cemetery following the Civil War. It quickly became a burial ground for New York's indigent, then its uses expanded rapidly: a quarantine area during times of pandemic, a psychiatric hospital, a boy's workhouse, a prison...anyone the troubled the city with their visibility.  This image is in OpenValley to show a single page from the records of its mass burials, here covering the months of July-December 1935. In its columns listing cause of death, several show the initials "TB"--that is, tuberculosis. Hart's Island had a tubercularium dating to the 1880s, and it also interred people who had died of the disease in other hospitals. The Federal Art Project lithographer David Burke situated one of his works at Hart Island: <a href="https://openvalley.org/items/show/2159" target="_blank" rel="noopener">He Calleth His Own By Name--Potter's Fields</a> (1935-42). Publisher An entity responsible for making the resource available Department of Corrections, City of New York Date A point or period of time associated with an event in the lifecycle of the resource 1935-07 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://archive.org/details/NYC_Potters_Field_Hart_Island_City_Cemetery_-_Burial_Records_1935/page/n134/mode/1up?q=TB" target="_blank" rel="noopener">Courtesy Reclaim the Records / Internet Archive</a> Type The nature or genre of the resource Still image Hart's Island, NY Mass Grave Potter's Field tuberculosis https://openvalley.org/files/original/4bdb458b210b07a19dc9e7af701d782c.jpeg 30adbb16131f6ae769bed427217f9f25 https://openvalley.org/files/original/4bb352d4027de22b0a51f4b8fab9aea0.jpg 665641bf9aab388f0ffd3538e40afa27 https://openvalley.org/files/original/4379f4651808048696f70c073914a8dc.jpg d00623585ce2e9dbec60a506e0ead8ba Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Movie still Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pottersville and Bedford Falls Description An account of the resource Stills and composite image from Frank Capra's film "It's a Wonderful Life" juxtapose Dickensian, nightmare version of Western New York town and its All-American counterpart Bedford Falls Creator An entity primarily responsible for making the resource Capra, Frank (1897-1991) Date A point or period of time associated with an event in the lifecycle of the resource 1946 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Screenshot "It's a Wonderful Life" Frank Capra Underground Atlas https://openvalley.org/files/original/4a90f72d05e6c4ed87eab0157601fe0f.png 8944ef5fb47ce9ceee6dca7b66a533be Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Power Plant '73 Creator An entity primarily responsible for making the resource Harry Schaefer Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived theatlantic.com https://openvalley.org/files/original/be8f6268966f60be2e7bbb2b423310f3.jpg c90c2ae125029337758e621be77b700c https://openvalley.org/files/original/92064da9f1000ba04bbf8ba5b79e4021.jpg 7a42579dbdcb3866dd0b89b9f6f37368 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Aquatint in paper Physical Dimensions The actual physical size of the original image Image: 9 x 12 in. Sheet: 11 x 15 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Practicing Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.6 MB Description An account of the resource Inside a home, a woman plays the upright piano while her dog rests at her feet, creating an intimate and cozy scene shaped by concentration and routine. A single lamp casts a limited pool of light across the piano, leaving the rest of the room in shadow and drawing the viewer’s attention to her focused posture and the sheet music in front of her. The music she’s playing is titled Sonata 3 by Botts, giving a subtle hint toward the artist himself. The book next to her music is titled “Study, WPA 1938 NYC” by Botts, along with an agility exercise book behind it. By putting his own name on the sheet music, Botts has inserted himself into the print while also blurring the line between the woman’s artistic practice and his own. By placing his name on the music she plays, Botts suggests a connection between creating art and performing it, positioning himself as both observer and participant in this domestic moment. The composition reinforces this sense of closeness: we see her in profile from only a few feet away, as if we are standing beside her. Small details like the soft wooden texture of the piano, the patterned rug beneath the damper pedal, and the individual hairs on the dog deepen the cozy domestic atmosphere. Even the metronome mid-swing emphasizes rhythm, discipline, and the steady labor behind artistic work. Together, these elements create a scene not just of a woman practicing music, but of the intimate, concentrated world of artistic creation that Botts subtly aligns with his own identity. About the Artist Born in New York City in 1903, Hugh Pearce Botts was an accomplished American artist. He studied at Plainfield High School in New Jersey and Rutgers University and later received his formal art training at the National Academy of Design. His teachers included Roy Hilton, Charles Curran, Charles W. Hawthorne, Ivan G. Olinsky, and William Auerbach-Levy, whose diverse approaches, from impressionism to portraiture to caricature, shaped Bott’s development as a painter and printmaker. Botts went on to work with various institutions, including the Carnegie Institution, Queens College, Princeton University, Pennsylvania State University, Syracuse University, and the American Museum of Natural History. His professional work ranged from landscapes, cityscapes, and industrial architecture to portraits of working-class subjects. He also created prints that depicted scenes of home life, often using cartoon-like facial features to express emotion and concentration. This expressive quality is especially visible in his <a href="https://nationalacademy.emuseum.com/people/1149/hugh-pearce-botts" target="_blank" rel="noopener">self-portrait</a>, painted in oil on canvas. 94 works and sketches at <a href="https://magart.rochester.edu/artist-maker/info/42?sort=3" target="_blank" rel="noopener">Memorial Art Gallery</a>. 18 works at <a href="https://collections.newarkmuseumart.org/search/Botts" target="_blank" rel="noopener">Newark Museum of Art</a>. 3 works at <a href="https://onlinecollections.syr.edu/advancedsearch/Objects/people%3Abotts" target="_blank" rel="noopener">Syracuse University Art Museum</a>. 2 works at <a href="https://americanart.si.edu/artist/carl-gustaf-nelson-3511" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 8 images at FAP. 6 images at <a href="https://art.gsa.gov/search/botts" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Botts, Hugh Pearce (1903 - 1964) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1131 Type The nature or genre of the resource Still image Federal Art Project Hugh Pearce Botts lithograph New Deal Museum